In these days of rage
I like to say that drawing/painting is a dialogue with the model, and not only with her or him (or … More
Pushing the envelope, we hope
First steps into veiled but inviting woods. These works and others can be purchased from the artist using the contact … More
New work, finally!
It’s not that during the pandemic I haven’t been making art. Quite the opposite. Painting, painting, painting! And just now … More
Charcoal drawing of a large-eyed young woman, hands crossed over her chest—the end of a long night of modeling?
Philosophical poem with naked model
Does the habitual expression of your lips express your personality, / Or does your personality organize itself around such things as / Your lips’ look?
On Gauguin being chased from museums for being a savage person and having said and done savage things
Let those sans sin, one might reply / Yet what’s so special about our times, . . . we shun or, better, expose / Those humans painting too unclothed! / And saying, doing, quite savage things. / While we, the pure, accusations sling!
Letter to a young model
What makes a good artists’ model a good model? An aspect or mood of the model speaking to an aspect or mood of the artist? And what’s in the model’s head or heart matters more than any physical forms, however unclothed? Not to ignore the advantages of bad models and bad moods! Short text accompanied by images from William Eaton’s drawings, and with a closing text adapted from Rilke (on the marriage of model and artist?).
The Black Model, Portraits, Naming and Renaming
Comments and translation regarding the renaming of Marie-Guillemine Benoist’s “Portrait d’une négresse”, a.k.a. “Portrait de Madeleine.” This as regards the show “Le modèle noir de Géricault à Matisse” (Musée d’Orsay), earlier known as “Posing Modernity: The Black Model from Manet and Matisse to Today.” The comments also touch on Degas’s “Petite Danseuse” and work by Thomas Eakins, Francis Bacon and Lucian Freud, and the piece includes charcoal drawings by William Eaton.